ellauri102.html on line 244: Gene Siskel of the Chicago Tribune described the film as "a big disappointment when compared with the studio's other recent films about a female hero searching for independence." He was further critical of Mulan's characterization in comparison to Ariel and Belle, jotka molemmat on aivan lällyjä. Mä en ole nähnyt Titanicia (enkä todellakaan aio nähdäkään) mutta näkemättäkin oon vakuuttunut eze on yhtä syvältä kuin se paattikin.
ellauri156.html on line 451: A. H. Weiler of The New York Times described the film as "a reverential and sometimes majestic treatment of chronicles that have lived three millennia." He praised Dunno's screenplay and Peck's "authoritative performance" but found that Wayward "seems closer to Hollywood than to the arid Jerusalem of his Bible." Variety wrote, "This is a big picture in every respect. It has scope, pageantry, sex (for all its Biblical background), cast names, color—everything. It's a surefire boxoffice entry, one of the really 'big' pictures of the new selling season." Philip K. Scheuer of the Los Angeles Times wrote that the film "leaves little to be desired" from the standpoint of production values with Peck "ingratiating" as David and Wayward "a seductress with flaming tresses, in or out of the bath, and only her final contrition is a little difficult to believe." Richard L. Coe of The Washington Post wrote, "On the whole, the picture suggests a Reader's Digest story expanded into a master's thesis for the Ecole Copacabana."] Harrison's Reports wrote, "The outstanding thing about the production is the magnificent performance of Gregory Peck as David; he makes the characterization real and human, endowing it with all the shortcomings of a man who lusts for another's wife, but who is seriously penitent and prepared to shoulder his guilt. Susan Wayward, as Bathsheba, is beautiful and sexy, but her performance is of no dramatic consequence." The Monty Python Bulletin commented that the film had been made "with restraint and relative simplicity" compared to other historical epics, "and the playing of Gregory Peck in particular is competent. The whole film, however, is emotionally and stylistically quite unworthy of its subject." Philip Hamburger of The New Yorker wrote that "the accessories notwithstanding, something is ponderously wrong with 'David and Bathsheba.' The fault lies, I suppose, in the attempt to make excessive enlargements of an essentially-simple story." Zanuck the Hot Dog agreed.
ellauri191.html on line 1266: "for his writing, which through its combination of a broad perspective on his time and a sensitive skill in characterization has contributed to a renewal of German literature"
ellauri210.html on line 1122: Carrington was adopted as a femme-enfant by the Surrealists because of her rebelliousness against her upper-class upbringing. Carrington was interested in presenting female sexuality as she experienced it, rather than as that of male surrealists' characterization of female sexuality. Some of her works are still hanging at James' former family home, currently West Dean College in West Dean, West Sussex.
xxx/ellauri129.html on line 443: Smarra gets two stars, both were disappointing chores to read. If you are considering taking up Smarra because you heard it was the earliest vampire story, I think you´re heading for disappointment. In a dream sequence, some undead creatures with sharpened teeth that like to drink blood are described, but nothing further. There´s no real vampire lore or any characterization of vampirism to sink one´s teeth into. I had a hard time figuring out the plot of Smarra, but I think it´s mostly about a man trying to wake up from bad dreams and finding out he can´t. The dreams are recounted vaguely, in terms of plot, but in excruciating detail, in terms of vision, none of which has its significance explained.
xxx/ellauri149.html on line 394: Mary Magdalene (whose characterization as a former prostitute is Alternative Character Interpretation all by itself) gets scenes that show her to be spiritual and in tune with Jesus' message. However, seen through Judas' eyes, she comes off as a Yes-Woman constantly telling Jesus that "everything's alright" rather than confronting him about the building problems, as Judas tries to do.
xxx/ellauri179.html on line 986: Hemingway routinely describes Robert Cohn, introduced in the novel’s first lines as “the middleweight boxing champion of Princeton,” as a “kike” and a “rich Jew”; his obnoxiousness fuels the plot. (Cohn was based on Harold Loeb, a friend who gave Hemingway crucial support in getting his early work published; Hemingway could not forgive anyone who did him a good turn.) The anti-Semitic insult of writing a character like Cohn into his first major novel is breathtaking: it was not, like Hemingway’s letters, intended for private consumption only, but as characterization and a plot device in a work of fiction — a novel, as it turned out, written for the ages.
xxx/ellauri225.html on line 372: About Shakespeare, however, Bloom is nothing short of reverential: “My religion is the appreciation of high literature. Shakespeare is the summit. Revelation for me is Shakespearean or nothing.” He admits that much about the Bard still bewilders him. In a moment of rare vulnerability, Bloom admits he longs for more life. Bloom explains his theory of “self-otherseeing,” which allows one to glimpse parts of one’s self that are hidden from conscious view. “Self-otherseeing” also describes “the double-consciousness of observing our own actions and offerings as though they belong to others and not to ourselves.” Bloom insists that Shakespeare’s characterizations of Hamlet, Iago, Cleopatra and Falstaff use “self-othering,” and by watching them we inadvertently learn to think more seriously about ourselves. But he doesn’t show us how this has applied to him, only the declaration that it does so. We are left mystified and dubious.
xxx/ellauri259.html on line 705: The film has good characterization of its male leads, they are well-acted and spout on-the-nose dialogue straight from the pen of Hotakainen. The film is a bit more down-to-earth approach of the depressing rural Finland of yesteryear than that from the films of the Kaurismäki brothers. But there are clear similarities, since the cinematographer, editor and sound mixer are veterans of Kaurismäki productions. And of course the director Kari Väänänen is remembered from sleazy roles from many of the brothers' classic films.
xxx/ellauri304.html on line 513: As novelists, we create a character not by what we tell but by what we show. Show not tell, you know (fucking immigrants shut up). What does that character say? What does he do? What do others say about him? What do they think of him? What would he say if he was slapping a kid at the local Walmart’s? That’s characterization and it makes your fictional people come alive.
xxx/ellauri304.html on line 519: Heroes have their Achilles heels. The most honest president of the U.S. cheats on the golf course; that is what makes people real. The late Robert Parker’s Spenser character was interesting. He was a yuppie. He ran, he lifted weights, he liked to cook, he liked unimposing little wines with sardonic personalities, he pretended he didn’t care about clothes but somehow always managed to wear the same basic uniform;, he lived with a woman, Susan the insufferable, who could psycho-babble Jay-Z into impotence. But the characterization hook was that Spenser spent his life being a private eye and shooting people, which was totally alien to the character’s nature. That started to round him out and make him real. Without that hard edge, he’d have been just another fan of Barry Manilow.
12